Hurvin Anderson’s Room at the Top etching edition with Durham Press continues to explore his Peter Series which he has revisited in a variety of mediums in and out of...
Hurvin Anderson’s Room at the Top etching edition with Durham Press continues to explore his Peter Series which he has revisited in a variety of mediums in and out of the Press. Each different iteration of the Peter Series begins with the same geometric structure, referencing the small attics converted into barbershops. Created by first wave Afro-Caribbeans, these spaces played a large part in Anderson’s upbring – Anderson himself and his family emigrated from Jamaica to Britain – and have remained in his mind as an important social space, of sharing a communal culture.
Room at the Top descends from the corporeal as the room becomes a shell of its structure and shrinks dramatically in scale, like the memory of a space that can no longer sustain a person, or even an object, in its thin pale walls. The Room at the Top is empty and seemingly out of touch, breaking down and reconstructing a space much as memory does when we keep returning to a subject. Each time we revisit a memory we see it in anew - maybe further from reality, or maybe in a different way as it shifts through time.